Download Anthony and Cleopatra (The Complete Shakespeare Translated by William Shakespeare, Liang Shiqiu PDF

By William Shakespeare, Liang Shiqiu

ISBN-10: 750433703X

ISBN-13: 9787504337030

It's a Bilingual variation of chinese language and English.

中国广播电视出版社从台湾远东图书公司引进版权,出版了梁实秋翻译的《莎士比亚全集》中英文对照版,这是梁译本《莎士比亚全集》以中英文对照的形式首次在内地出版发行。梁译本的最大特点为:白话散文式的风格;直译,忠实于原文;全译,决不删略原文。除此之外,梁译本还有独到之处:一是加了注释。莎翁作品原文常有版本的困难,晦涩难解之处很多,各种双关语、熟语、俚语、典故也多,猥亵语也不少,梁实秋不但直译,而且加了大量注释,帮助读者理解原文。二是每剧前都加了序言。序言中对该剧的版本、著作年代、故事来源、舞台历史、该剧的意义及批评意见等均有论述。

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Extra resources for Anthony and Cleopatra (The Complete Shakespeare Translated by Liang Shiqiu, Book 35) (Bilingual Edition)

Example text

If transformation is something that is expected to happen within the limits and choices and traditions that define the particular world of a play, within the premisses that create and confine our expectations, why not transformation of the premisses themselves? Bringing the rules into play, as in Translations, even in some instances challenging the very idea of such rules, can happen in endless ways. Let me note several. One is by a change in midcourse, or more likely towards the end of the play, through a sudden and unexpected shift in key; another is by purposeful mystification, a deliberately ambiguous or even deceptive opening that defers a stable definition of the stage; a third is by breaking the rule about rules, a subversion of all expectation and dramatic logic except the expectation that anything goes.

Costume among the latter group is garishly stagy, and among the Court, superb. The signature of the opening is the incongruous note—the giveaway that says ‘theatre’—a shoeshine box beside the solemn catafalque, tan shoes with evening dress, skin showing around the Court’s masks, and disturbing orchestrated laughter from the supposed players, one of whom presents the others to the audience (the stage audience and the actual audience, indiscriminately). ’ The effect of this exchange, along with other hints, glimpses, innuendoes, is that something is happening or is intended to happen that is not a Theatre unveiled 29 performance; something real, or at least more real.

The creation of a stage world that allows such intercut presences means that the reader and viewer sees as reality what the inhabitants of the later period can only grasp, misconstrue, as history. But for the poignant last scene, in a bold stroke of theatre poetry that pays off beyond all reasonable expectation, couples from the two times, blind to each other, are on the stage simultaneously, in the same room, dancing to the same music. This radical break with the premisses that have so far governed the play, its rules of representation, comes off as the revelation of another logic, a higher logic perhaps, consonant with thematic concerns: about loss and recurrence in the pattern of things; about iterated algorithms in a ‘geometry of nature’; and how ‘the unpredictable and the predetermined unfold together to make everything the way it is’,⁷ which is not a bad description of the progressive form of a play.

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